Directed by Gary Grant
Choreographed by Dustyn Martincich
Costume Design by Paula D. Davis
Link to PDF of Costume Research PowerPoint.
Day: November 1, 2017
Categories
Black Comedy 2013
Directed by Anjalee Deshpande Hutchinson
Costume Design by Paula D. Davis
Peter Shaffer’s Black Comedy is a funny and fun romp of a play with mistaken identities and and unexpected outcomes. It was originally produced in the 1960s and very much is of that time period. Even with all of the physical comedy of the play there were still important themes of 1960s England found in the tensions between generations and classes. I researched the period extensively and learned quite a lot about the “peacock” fashion moment for men centered around Carnaby St. that shows up in the younger men’s designs. We had a lot of fun building the yellow lace dress and coat, the striped bell bottom pants, and the op-art minidress.
Link to PDF of Costume Research PowerPoint.
Categories
The Secret Rapture 2008
Directed by Emily Penick 2008
Costume Design by Paula D. Davis
David Hare’s 1988 play, The Secret Rapture, is very much a story of its time yet still resonates with audiences today. As such, we wanted to keep very true to the 80s and so researched the Britain of Margaret Thatcher and Princess Di through imagery. I was especially interested in the power suits of the period inspired by 1950s Chanel suits.
Categories
Urinetown, The Musical 2007
Direction by Gary Grant
Choreography by Dustyn Martincich
Costume Design by Paula D. Davis
This satirically funny musical was our first musical since I joined the faculty at Bucknell University. It was also our first musical with our dream team of Gary’s direction and Dustyn’s choreography. We closely examined character, period, and the musical theatre quotes found within this show. I was inspired especially by expressionism and surrealism in fashion. I made the rich female character’s dresses in rich jewel tones and then created Schiaparelli inspired exaggerated padded style lines and hats to heighten the reality of this play. I had a student who was a brilliant hatmaker and so I charged him with creating asymmetrical oversized cop hats for our chorus of tap dancing cops. The tap dancing cops were then accessorized with sequin ties and high waisted trousers. Over spring break I scoured a flea market in Budapest, Hungary and found communist era coats, hats, and medals for Officers Lockstock and Barrel. For the poor we looked especially at images of the 1930s depression by Dorothea Lange. Little Sally was a Raggedy Ann come to life and we dressed her little Raggedy Ann just like her. But I think my favorite was the bunny ears.
